This film was not accepted by the public when it debuted, as it was only directed by Charlie Chaplin and it was not a comedy. Yes, he does appear VERY briefly in a tiny cameo, but other than that you'd hardly know it was his film.

Edna Purviance, a long-time co-star in many of Chaplin's shorts, is the star of this melodrama. Adolph Menjou is an amoral playboy who loves her--mostly for her body. Carl Miller is the old boyfriend who apparently has a very poorly defined role in the film and ultimately kills himself. In some ways, the movie is quite in advance of its time--taking on topics such as a sexually liberated woman and suicide. But, it also has its feet firmly grounded in the overly melodramatic past, with its occasion over-the-top script and its very old fashioned ending.

The film has excellent direction and cinematography. In addition, just before his death, Chaplin re-edited the film--adding a new score he wrote himself (something he did for most of his features). A beautiful to look at but just a little bit too old fashioned melodrama. It's worth a look for the curious, but it not an exceptional film--and I think that's what America and the world expected from this film genius.

Charles Chaplin is noted for his comedy performances, and deservedly.

His direction, though, should be more highly regarded, if only for this one motion picture.

Compare the quality of the photography and the smoothness of the editing to, for example, "The Gold Rush," of about the same time.

"A Woman of Paris" is very modern; "The Gold Rush" is downright primitive (but, in spots, brilliant).

"A Woman of Paris" also shows some admirable acting talent in, really, all the players. Some of the lesser characters are still played beautifully, despite being "lesser," especially Marie's maids and her, more or less, friends, and very especially the masseuse.

And the scene where the artist's mother, played by Lydia Knott, bent on revenge, comes upon Marie -- with no words, just body movement and facial expression -- she tells the audience what the proverbial thousand words could not so well.

Credit for part of that good acting must, of course, go to the director, but even the best director can't make much of poor actors.

Chaplin had very good actors. Adolphe Menjou reached stardom, and deservedly. What a tremendous talent; he could do everything.

Edna Purviance should have achieved much more acclaim. She performed admirably, especially in this movie, and she was attractive. Fame is certainly fickle.

In some ways, "A Woman of Paris" might be written off by a few as "soap opera." But it is well worth watching for the performances and, especially, for the directing.

In the 1920s Charlie Chaplin tried to break away from his double dependence on the "little tramp" and comedy. His first attempt (still a comedy) was "The Kid", where he made Jackie Coogan an equal in the film (althought Chaplin did get higher billing). Then he thought (quite seriously) of starring in a film biography of Napoleon I. There is a photo of him in costume as the Emperor, and Alistair Cooke (in his book "Six Men") mentions Chaplin demonstrating a piece of dialog that Napoleon would say regarding "perfidious Albion". Later Chaplin would concentrate on his co-star (and lover) Edna Purviance, doing this film and later having a second film called "The Sea Gull" that was shot by Joseph Von Sternberg but never released. The poor box office of this film, "A Woman Of Paris" really ended the attempts. Chaplin was a good businessman, and the bottom line was box office. So his next film returned to the tramp - "The Gold Rush".

"A Woman Of Paris" is a well made movie, and never fails to hold one's interest, particularly watching the budding elegant career of Adolphe Menjou. His Pierre Revel is a perfect boulevardier type - he dresses well, knows how to order great food (truffles),and is cynical separating a financial/socially promising marriage from continuing seeing his mistress Purviance. Edna is from the French countryside, and wants luxury and financial security. She also wanted to marry Jean Millet (Carl Miller) but the death of his father on the night they were to elope causes him to miss the planned elopement - and she leaves for Paris. We follow her there and her reunion with Miller - which leads to tragedy. Belatedly realizing what she has lost, Edna goes back to the countryside to assist Miller's mother (Lydia Knott) in charity work. The conclusion where she is happily riding home on a horse and wagon, while a fast touring car (with Menjou in it) drives by without seeing her is wonderful - Menjou was just asked by a friend whatever happened to Purviance, and he shrugs his shoulders.

Purviance is competent but not much more. Her success in Chaplin's comedies was as a reactor to Charlie, not as the creator of humor. She's not Mabel Normand, who was a clever comedienne. Miller is good, but stiff (possibly due to the character's limitations - Chaplin rarely tried to make a Pierrot character who was not the self-sufficient tramp). The best thing about Miller's character is his talent for painting.

One final note - Henry Bergmann who was one of Chaplin's regular actors (sometimes playing fat women, but he played other roles as well) is the head waiter at a posh restaurant Menjou takes Purviance. His indignation at a junior waiter "trying to muscle in" on this rich, big tipping special customer are quite funny.

Not the greatest Chaplin film work, but worth watching.